<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275901">
    <dcterms:title><![CDATA[Call Me Ishmael, Still.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates that this volume of poetry includes two poems entitled &quot;From Chaucer&#039;s The Franklin tale&quot; and &quot;The Franklin&#039;s tale told twice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275900">
    <dcterms:title><![CDATA[My Gay Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Autobiographical remembrance/contemplation by a gay medievalist in New York. Includes frequent references and allusions to medieval topics, including Chaucer, here described as &quot;really the most important thing in the world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275899">
    <dcterms:title><![CDATA[Troya Historiada en &quot;The Book of the Duchess&quot; y &quot;The House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the Troy stories in BD and HF, exploring issues of cultural memory, authorization, and Chaucer&#039;s visual depiction of the traditional narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275898">
    <dcterms:title><![CDATA[Medievalism in English Renaissance Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;scope and range of Tudor responses to the Middle Ages,&quot; tracing the &quot;literary afterlife&quot; of Chaucer, Tudor &quot;editions and redactions&quot; of medieval romances, and &quot;Elizabethan dramatizations of medieval history.&quot; Poetic and editorial treatments of Chaucer mostly &quot;honor him for endowing England with a literary history and identity,&quot; although some &quot;treat him more like a colleague or poetic contemporary.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275897">
    <dcterms:title><![CDATA[The Beginning of Writing about Painting in English: Chaucer to Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that writing about painting in England began with Chaucer&#039;s &quot;definition of visual art&quot; in PhyT 6.9ff., sketching classical and medieval background to Chaucer&#039;s description, particularly Pliny, Bartholomeus Anglicus, John Trevisa, and the Roman de la Rose. Also comments in detail on Chaucer&#039;s visual techniques and uses of ekphrasis in PF and KnT before tracing concerns with art writing, image-making, and iconoclasm in pre-modern English writing and the rise of humanism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275895">
    <dcterms:title><![CDATA[&quot;What&#039;s Past Is Prologue&quot;: Medieval English Studies in China in Recent Decades (1978-2014).]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys translations and studies of medieval English literature produced in the People&#039;s Republic of China, commenting on the important role of Professor Li Fu-ning and describing translations, theses and dissertations, and critical books and essays. Emphasizes Chaucer throughout, with mention of &quot;over 150&quot; essays written about his works, and discusses various ideological and aesthetic approaches to translation and critical study.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275894">
    <dcterms:title><![CDATA[&quot;From Pandaro to Pandarus: Sexuality and Power in Chaucer&#039;s &#039;Troilus and Criseyde&#039;.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s Pandarus with Boccaccio&#039;s Pandaro, arguing that &quot;that Pandarus so loves Troilus that he consummates his passion vicariously on Criseyde, telling lies which kill the affair before the lady leaves Troy.&quot; The &quot;cues&quot; for this characterization &quot;all lie in&quot; the &quot;Filostrato,&quot; but the &quot;darkness&quot; of Pandarus &quot;is a product of Chaucer&#039;s London.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275893">
    <dcterms:title><![CDATA[Triptych for Tenor and Orchestra.]]></dcterms:title>
    <dcterms:description><![CDATA[Sets MerB to orchestral music, sung by tenor; text in Middle English. A Special Oder Edition / Study Score was commissioned by the Saltire Music Group, apparently in 2009.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275892">
    <dcterms:title><![CDATA[Einführung in das Studium des Mittelenglischen unter Der Prologs der &quot;Canterbury Tale.&quot;.]]></dcterms:title>
    <dcterms:description><![CDATA[Part 2 (pp. 225-379) prints the entire GP, based on the text of Manly and Rickert (1940), with phonetic transcription of lines 1-78; introductory commentary on its meter, stress patterns, syllabification, and rhyme techniques; and a comprehensive glossary of its vocabulary. Also includes an introductory survey of Chaucer&#039;s life and works, with particular emphasis on CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275891">
    <dcterms:title><![CDATA[Middle English: Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[A discursive review of Chaucerian scholarship and research published in 1957.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275890">
    <dcterms:title><![CDATA[Middle English: Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[A discursive review of Chaucerian scholarship and research published in 1958.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275889">
    <dcterms:title><![CDATA[Middle English: Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[A discursive review of Chaucerian scholarship and research published in 1959.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275888">
    <dcterms:title><![CDATA[Cantate sur des Poèmes de Chaucer: Pour Choeurs Mixtes et Orchestre.]]></dcterms:title>
    <dcterms:description><![CDATA[Score in six parts for orchestra and voices: Prélude I, Captivity, Prélude II, Escape, Prélude III, and Rejection. The text of the three parts between the preludes is MercB in Middle English with an interlinear French translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275887">
    <dcterms:title><![CDATA[Animal Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes an oral retelling of NPT for children, &quot;Chanticleer the Rooster,&quot; adapted and read by Jim Weiss, with a brief introduction. Track 9; ca. 15 min.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275886">
    <dcterms:title><![CDATA[Desire and Defacement in &quot;The Testament of Cresseid.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Cresseid&#039;s leprosy in Henryson&#039;s &quot;Testament,&quot; with attention to how the disease can help to chart the &quot;ethical relationship&quot; between his poem and Chaucer&#039;s TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275885">
    <dcterms:title><![CDATA[Cutaneous Time in the Late Medieval Literary Imagination.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers &quot;the special use that medieval writers made of skin as a metaphor for time,&quot; focusing on the &quot;structural patterns&quot; of &quot;Sir Gawain and the Green Knight&quot; and WBP--&quot;suspension, cessation, and repetition&quot;--and how these patterns &quot;imitate the forms of stretched, broken, or wrinkled skin.&quot; Also assesses how meetings between &quot;old and young people, in these texts,&quot; can be &quot;read allegorically . . . for the synchronicity of the past and the present.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275884">
    <dcterms:title><![CDATA[The Rumour: A Cultural History.]]></dcterms:title>
    <dcterms:description><![CDATA[Follows the history of rumor as a cultural force in art, literature, and politics in classical tradition and in the modern western world, as it relates to renown, fame, gossip, hearsay, news, contagious surmise, speculation, and propaganda. Includes discussion of HF as an example of the conceptual separation of fame and rumor, previously fused in the classical notion of &quot;fama,&quot; particularly as evident in Virgil and Ovid. Originally published as &quot;FAMA: Eine Geschichte des Gerüchts (Berlin: Berlin Verlag, 1998).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275883">
    <dcterms:title><![CDATA[Interpretative Etymologies in Translations of the &quot;Golden Legend.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how vernacular translators of Jacobus de Voragine&#039;s &quot;Legenda Aurea&quot; lend theological authority to their works by appropriating or emulating the onomastic etymologies in Jacobus&#039;s work. Includes discussion of Chaucer&#039;s close following of Jacobus--the first instance on English--in his etymologizing of &quot;Cecile&quot; in SNP 8.85ff., describing how Chaucer&#039;s presentation emphasizes Cecilia&#039;s &quot;good works and charity&quot; and his own work of translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275882">
    <dcterms:title><![CDATA[Fool&#039;s Errand: A Tale from Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Adapts PardT as a verse drama for seven roles: three rioters, three barmaids, and the Old Man who is revealed to be Death himself at the end of the rioters&#039; quest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275881">
    <dcterms:title><![CDATA[The Pardoner&#039;s Tale: A Classic Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Modernizes and adapts PardT for children as a drama in six scenes. The Pardoner as narrator speaks in prose and the characters, generally, speak in rhymed pentameter couplets. Features three &quot;ruffians&quot; (named Joker, Jack, and Ace), an Innkeeper, an Old man and a Chemist. Color illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275880">
    <dcterms:title><![CDATA[A Student Guide to Chaucer&#039;s Middle English.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers instructions for pronunciation and phonetic transcription of passages from Chaucer&#039;s works, with an introduction to the history and grammar of his Middle English dialect, and a glossary of his basic vocabulary. Designed for classroom use, with exercises and advice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275879">
    <dcterms:title><![CDATA[Catena: For Soprano, Tenor and Instrumental Ensemble.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate the score was &quot;reproduced from composer&#039;s manuscript,&quot; with &quot;texts taken from Chaucer, Joyce, Shakespeare, and Dylan Thomas among others.&quot; Variously numbered as opus 44, opus 45, and opus 47.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275878">
    <dcterms:title><![CDATA[The Seashell Anthology of Great Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Selects a variety of poems by British and American writers, arranged thematically, including examples from GP: 1-18 (original and translation), and 445-76 (Wife of Bath), 165-207 (Monk), and 285-308 (Clerk) in modern English; all translations by the editor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275877">
    <dcterms:title><![CDATA[Scribal Oeuvres: &quot;Chaucer&#039;s Scribe&quot; and his &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 5 in Hanna&#039;s book-length introduction to the study of English medieval books and manuscripts, revisiting and offering new and revised opinions of the nature, value, and relations between the Hengwrt and Ellesmere manuscripts of CT. Includes discussion of Adam Pinkhurst as scribe and his relation with Chaucer, textual and paratextual concerns, questions of patronage, dating, the order of the tales, the contexts of manuscript production, and the early transmission of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275876">
    <dcterms:title><![CDATA[Ambages and Double Visages: Betrayal in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;conditions that allow for [Criseyde&#039;s] betrayal&quot; in TC, including the &quot;structure of courtship&quot; which establishes the duplicity of the relationship between the lovers, the deceptions upon which it is based, and the fundamental ambiguities of human discourse, rife with lies, delusions, performances, and misplaced faith.]]></dcterms:description>
</rdf:Description></rdf:RDF>